it takes me hours to return to the studio. I begin with sleep I felt was desperately needed, but in retrospect, was just the work’s way to get my attention: waking in the studio.
I see the body of the work: the balance sculptures anyway look like cosmic rays
I have glass optics, the heavy lens of a periscope, magnifiers and condensers, light and dark, and a dream of a window piece from a recent installation site.
i went to the world to show the work, and came back with even more ideas, so i have to ask myself what i want to find out. i want to see what the light does going through these re-purposed lenses, to catch it midair. reflect it. to step into an infinite reflecting chamber, a light reflection conversation.
and then i see the objects of the installation sticking up above my other thoughts like coney island from the air. it makes me take my hands to my face wondering how I’ll ever capture enough light to make such a thing visible. and then i realize how i could make it, the way to get back the missing ability, to entirely capture light in a non-infinite light reflecting environment, (see fiber optic) the twist that turns my work from science to art. i must be forgiven.
i see a wall of lenses
these things are clear to all from time to time
i see another trip to american science and surplus for fifty cent magnifiers and leftover, probably irradiated wire. It’s a don’t-ask-don’t-tell situation.
and i know now why i kept all the mirrors from before
An immersive walk-through installation of light that investigates limits and distortions in ways of seeing, in a physical and illusory terrain defined by cosmic rays that normally go unseen, with demonstrations using LEDs, glass optics, wire and foil, refraction, reflection, and shadow. The installation starts with scientific lenses, and morphs to appropriated glass, and transparent objects, culminating in an optional Fortune Seeing.
i am lightly looking for the pieces without demanding eyes, so that they remain free from the bonds of the object world. feel the dee-fair-ahhnce. my vision of it transitioned to another level in the room at the art center, because it was an other place – it was entirely the installation outside the studio. this view, along with the very most astute challenge, ‘you tell its fortune.’
I am trying to see the thing in my mind’s eye, when really i am supposed to get up and begin wrapping the lenses that have made themselves part of the room throughout the afternoon of holding each one near and far to the eye at the window, lens in hand, with my elbow, sliding the upside down world nearer and farther by two times in refraction.
my question is, what is the uncontrived object? open sesame…
i might write about the cloud chamber, i am visualizing the pieces already in place, what they look like to the enterer, dizzy with dozens of curiousnesses.
the lenses, the prisms, and catching the images fragile like tied flies, in midair, just to show the trick of light, i have to stop it to show it. draw it. draw the line between art and science. take my pencil.
to scramble the machinemind at the brackish membrane of thought that cordons science and art away from each other as if they are opposites when in fact they hover in a spectrum of inquiry and seeing.
i decide to wrap the screen disks in the column, to encase them, to capture the shape of the available data. I mean light. a cone of seeing captures a cone of information. even in the baffles there’s a bouncing color effect when light has to skitch out of its source sideways.
in the front room of the studio is the work. i want to clarify my thoughts before I go in. clarify the seer before the seeing. can’t go back the same way came in.
i make myself its observer, i make myself its maker . observer maker observer maker ch ch chinatown
What is seeing. is that all.